NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback
 SEARCH
 

 FAN COMMENTS
@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldnít change a thing about it), I must admit, it doesnít have nearly the same effect as a stand-alone listen. Itís literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it ďawardĒ worthy? Iím not sure. If based solely on the film, you betcha. If based purely on the music itself, I donít think so. Thatís where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or ďactualĒ music (again, works IN the film). Itís glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... Iíve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did itís job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
Latest

Please install Flash®
and turn on Javascript.


Rate those CD:
Top 50





John PowellBatu SenerPaul MounseyAnthony B. Willis
ComposerAdditional MusicAdditional MusicAdditional Music
Ferdinand
Label: La-La Land Records / 5 Cat Studios
Length: 61'20
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   3/5 (70 votes)
  1. Bees And Bulls (2:30)
    John Powell, Batu Sener
  2. Selection Process (2:00)
    John Powell
  3. Father And Son (2:06)
    John Powell, Anthony B. Willis
  4. Finding Home (5:32)
    John Powell, Batu Sener, Anthony B. Willis
  5. A New Day (2:52)
    John Powell
  6. Flower Festival (4:46)
    John Powell
  7. There's Been A Mistake (2:28)
    John Powell
  8. Lupe And Ferdinand (2:28)
    John Powell, Batu Sener
  9. Lipizzaners And Ferraris (2:50)
    John Powell
  10. Ferdinand And Nina (3:24)
    John Powell, Batu Sener
  11. Bull Olympics (3:42)
    John Powell, Anthony B. Willis
  12. Sunsets In The Training Yard (3:14)
    John Powell
  13. Escape From "The Spa" (3:32)
    John Powell, Batu Sener, Anthony B. Willis
  14. Highway Chase (3:16)
    John Powell, Batu Sener
  15. From Train Station To Arena (5:04)
    John Powell, Anthony B. Willis, Paul Mounsey
  16. Madrid Finale (12:14)
    John Powell
Create Topic

Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading !
Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.

  Your name :     

Please enter number: 1606 

aldan reply Replies: 15 || 2017-12-13 14:57:56
Wow full credits already.
(Quite surprised so many tracks are not pure Powell's)

Anyway smples on LLL sounds awesome, Powell at its quite best of course.

That Madrid Finale, omg, classical!


Macejko2017-12-13 15:17:08
I must admit I'm starting to think of Powell as sort of a pretentious douche. All the time he acts like the hottest shit in town, refusing to score basically everything they offer him, and when he finally descends from his golden throne and graces us peasants with a new score for his beloved kiddie animated genre, even then he doesn't handle the majority of the score himself.
This might be a fun score, I'm sure it's gonna be, but I'm also pretty sure that it's going to sound like every other Powell score from the last 6 or so years. The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ. Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better.


George2017-12-13 15:23:35
^ lol. Harsh, but heís not wrong. Although, I hate to say it, we could say the same for Zimmer in my opinion.


Ds2017-12-13 17:37:23
Here is another comparison which to me seems more relevant than yours :
Lorne is doing a lot of projects and getting better and better in various styles.
And Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity. I'm not saying he doesn't evolve, but at this rate he will need 3 lifes to catch up on Balfe's current level.

Powell has nothing to prove, he has already mastered all genres and is now able to write the music he likes most : crazy orchestral pieces where nothing is forbidden. Today, only animated movies allow this style of scores to exist. And also Star Wars :-p


George 2017-12-13 17:55:37
Fair point. Just look at what Balfe did this year, Lego Batman, Churchill, Genius, The Crown, Geostorm... and all are somewhat different in tone. He was on fire this year for sure.


Macejko2017-12-13 18:25:53
The moment an artist thinks he has "nothing more to prove", he is creatively dead.

Also, thinking that only animation and Star Wars provide a field for any kind of innovation and experimentation is just ludicrous beyond words, Ds. SW especially is the most musically restricted franchise on the planet.


Ds2017-12-13 22:09:28
But you know he never said he has nothing to prove. I don't think he even think such a thing, actually he seems like a very humble and nice guy, much like Hans. I just tell you this based on all the great things he did in many genres throughout his career.

I guess he just want to write music he likes and the way he likes it. Many producers/directors want something more restrained for their movies, that's ok, they can get someone else. If you can afford doing what you like for a living, why the hell would you accept jobs you don't like?

And SW isn't about "creativity", it's just about this kind of busy orchestral music with lots of frenetic parts which Powell seems to really like these days.


Edmund Meinerts2017-12-13 23:09:21
Ds beat me to a few of the points I was going to make, so thanks. :) I'll try to keep this brief, but it won't be.

Macejko, the only part of your statement that I would 100%, strongly, absolutely disagree with is the "pretentious douche" part. When has he ever "acted like the hottest shit in town"? Do we have any record of him actually refusing assignments? I mean, clearly his output has slowed down since 2012, but why do you act like he's doing that because he thinks he's better than everyone else? I don't see that as pretentious. Especially not given what we know about his personal circumstances. For all we know his decision to take on less work was caused by the knowledge that his wife was sick and wanting to spend as much time with her and with their son as he could. You really still want to call him pretentious?

Now, what I do agree with is the impression that Powell is no longer really developing as an artist. He's found his niche and is writing scores that he feels comfortable with, but I haven't been "surprised" by anything he's written since probably 2010 or 2011. Is that a problem? Well, depends on what your priorities are. I don't rate innovation as highly as I do music that speaks to me on an emotional level, that I love listening to and want to hear over and over again. And with scores like Pan and HTTYD2 Powell has definitely provided that, while Hans Zimmer for all of the "pushing the envelope" and "breaking boundaries" he's done (or claimed to have done) in the last 7, 8 years has in the process left behind many of the things that made me love his music in the first place. He's written some fine and certainly interesting scores in those years (and some I never want to hear again), but I'd throw out every single one of them to hear another At World's End or King Arthur, just a big old epic larger-than-life fun time that cares more about entertaining you than trying to musically divide by zero or whatever. But now I'm turning this into a Powell vs. Zimmer argument which was never really my intention. :p

At the same time I can't pretend that it doesn't hurt to see how much Powell has slowed down. I mean his run of form from 2003-2011 is the stuff of legend, 3-4 scores a year in all sorts of different genres, all of it quality stuff. He was pretty much hitting the sweet spot: innovating, developing his style, trying out new things but not sacrificing his voice or the accessibility of his music. If he were to keep up that trajectory for a career spanning several decades he'd be in contention for greatest of all time IMO. Sadly it doesn't look like that's going to happen anymore. I think it's a fair criticism to say he's dropped off, or at the very least leveled out. I just don't think it's fair to call him pretentious for doing so. The man's a human being and he has the right to live his life however he wants.


Macejko2017-12-13 23:38:53
I was a bit over the line, I admit. I should have made it clearer that all of that "hottest shit in town" bit was meant purely as a part of my personal opinion regarding his output. I never saw or read any interviews with him.

I also know about his wife, of course... but I guess I'm just too cynical to accept it as an all-encompasing excuse while seeing such massive fanbase clamoring for his new music. I don't know, I admittedly feel a bit bad about what I'm saying myself. I AM an asshole, sure, but only to an extent.

I think that saying "he is writing scores that he feels comfortable with" and "living his life however he wants", albeit understandable, is still ignoring the fact that he is an artist with a fanbase. We are living in a time when film composers are slowly getting a mainstream recognition as a type of musicians comparable to bands or singers. And that creates a certain responsibility towards that fanbase. An artist doesn't have to fulfill it, sure, but he should at the very least acknowledge and address it.

Which brings to mind an image of Hans going on a massive tour whilst giving zero fucks about the CD presentation of his scores, but I digress.

I wouldn't dare giving Powell advices about how to deal with a pain of the loved one's loss. But on the other hand, I strongly believe in artist's responsibility towards the fans.

For example, that's why I would kick everybody saying "GRRM is not your bitch" right in the goddamn nuts.


Olive2017-12-14 11:47:43
Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.

I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.


Olive2017-12-14 11:55:08
And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?

I'm in a hurry and I put everything into a translator. Forgive the many mistakes.





Edmund Meinerts2017-12-14 13:09:27
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.


Macejko2017-12-14 13:22:06
Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat.

That Solo movie is going to be a disaster, though.


James2017-12-14 16:30:27
@macejko

"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"

You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.

"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."
Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).
Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.

" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"

As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?

@ds

"
Powell has nothing to prove, he has already mastered all genres"

That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.

@george

". Although, I hate to say it, we could say the same for Zimmer in my opinion"

Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime

"he has "nothing more to prove", he is creatively dead."


Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.











Anonymous2017-12-14 16:54:46
@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."

I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.


James2017-12-14 16:56:23
/ it's me

Andreas reply Replies: 1 || 2017-12-14 10:16:22
The score is already on itunes.


Andreas2017-12-14 15:25:42
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Donít even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.

FunnyML reply Replies: 0 || 2017-12-09 05:01:56
promo tracklist (there's no entry for this here yet):
01. Opening / Fantasy
02. No Fight / Selection
03. Father And Son
04. Waiting / Casa Escape 1
05. Storm / Finding Home
06. New Day / You Can't Go
07. Flower Festival
08. China Shop
09. Caught / Drive
10. Hysterical Lupe
11. New Digs / Hedgehogs Parts 1-3
12. New Digs / Hedgehogs Parts 4-6
13. Horses Parts 1-2
14. Lupe Freakout Parts 1-2
15. El Primero
16. Bull Olympics
17. Chopped Guapo
18. Thinking Of Nina / Allergies
19. Training / Bunny Parts 1-2
20. Angus And Ferdinand
21. Valiente Argues
22. Mission / Sneak Out 1
23. Mission / Sneak Out 2
24. Trophy Hall / Valiente Fight
25. Moo Parts 1-2
26. Chop House
27. Casa Escape 2 / Highway Chase
28. Train Escape / Death March
29. Intro To Bullfight
30. Bullfight
31. Ferdinand Returns

jrej3555 reply Replies: 0 || 2017-12-08 04:45:35
It appears that the film version of the song "Home" by Nick Jonas was produced/arranged by Powell: https://www.you tube. com /watch?v=eop2HDygtfQ

Hybrid Soldier reply Replies: 6 || 2017-11-23 00:17:52
Edmund ! For YOU !! lol


Lynk2017-11-23 05:00:12
And I thought Varese Sarabande will pick this one up. Whatever happened to those guys I will never know.

A Little off-topic here but might I ask if there any computer geeks around here who know how I can calculate total duration of albums using Excel or some simple web service (other than Soundtrack Collector)?


Kusi2017-11-23 08:34:09
Based on what you'd like to calculate it? MP3, CD....?


Lynk2017-11-23 09:50:55
@Kusi

Each time Film Music Reporter or similar websites reveal full album details I see individual track lengths but usually total running time is not provided. I am often curious to find out what the total running time is. It is fairly straightforward to do the math myself, of course, but it takes time. What I am looking for is some web service, Excel template/formula or whatever quick and easy-to-use tool one can suggest that allows me to type in individual track-lengths and get the total running times as the output.


Edmund Meinerts2017-11-23 11:38:10
Lynk, you should be able to just type the individual times into a column or row in Excel, select them all and the sum will be given at the bottom. Alternatively I use this sometimes: calculator. net/time-calculator

Also...HOOOOOOOOOOOLY shit that last track. My entire mouth just filled with saliva. :O


James2017-11-23 13:39:31
A "spanish" score. This is great!


FORZA2017-11-23 22:43:18
Cannot freaking wait!

 HANS-ZIMMER.com© 2001-2017 OST 
Ferdinand soundtrack - John Powell 2017